OILER’S CAR CLUB THE RACE OF GENTLEMAN, 24 HRS OF NEW JERSEY | SCOTT TOEPFER

sgtoepfer oilers car club

Scott Toepfer, a guy I’m humbled to call my friend, came to the Jersey Shore to shoot the second annual The Race of the Gentlemen organized by Mel Stultz (OCC) and put on by the legendary Oiler’s Car Club. It’s an event that can only be adequately described by someone who was actually there in the thick of it– and Toepfer was kind enough to share his personal thoughts with TSY on the sights, sounds, and experiences had by a California boy in Wildwood, Jersey. Great stuff, Scott!

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THE CHOPPED ROD & CUSTOM FESTIVAL | HOT RODS AND MUSIC GET BACK TO THEIR ROOTS

So there’s this little festival called Chopped put on each year in Country Victoria – Australia. The guys were kind enough to send TSY a note as they thought we would appreciate the madness that they create down under… Enjoy!

tsy-chopped-2013-crcooperphotography-0891 Drag racing where it started– in the dirt!

A throwback in time to a 1950s – ’60s Hop Up Carnival! Hundreds of cars and bikes rattled by the sounds of 25+ bands belting the roots of rock music to thousands of Rockers, Petrol Heads, Hipsters & Greasers! This is Chopped the only festival of its type it in the world!

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THROTTLE MERCHANTS | SO CAL’S PRE- 1940s FORD HOTRODS & VINTAGE BIKES

Throttle Merchants Magazine is the photobook project of Matt Porter & Aileen Aquino. Their passion is shooting SoCal’s amazingly rich Hot Rod culture, focusing primarily on pre-’40s Fords, and vintage motorcycles. Looking at the images of these incredibly crafted machines and their unique creators, one is impressed that this no hobby. This is what they live for. To that point, Matt and Aileen are big on keeping the pages of Throttle Merchants all about the stories being told through the photography, and have strayed away from ads & sponsor revenue. Check out their website here to see how you can help support their vision. The much anticipated Issue 4 will be available on 8/24, kicking-off that night with a release party at Old Crow Speed Shop in Burbank. Check it out.

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Bobby Green — Photography by Matt Porter and Aileen Aquino © Throttle Merchants Magazine

“A friend of ours recently called Throttle Merchants Magazine a “passion project”—and with that we would totally agree. We started photographing the hot rod culture back in 2008 and have self-published four magazines since then as a side-project. The term magazine can be somewhat confusing to people— none of our work contains articles, advertisements, or editorials. There are no staff writers, nor do we have a creative director. We simply take collections of our own images and let them tell a story. All photographs in each magazine are shot by us (Matt Porter and Aileen Aquino), and are then laid out by us before being sent to press. We’ve been nursing our latest work for a couple of years until now. To finally have the finished project—a tangible compilation to share with everyone—has set our minds at ease. Volume 4 includes Lucky Burton, Bobby Green, Billy Branch, Robert Lomas, Chris Casny, Jack Carroll, Jose Gonzalez, and more.”  –Aileen Aquino

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Billy Branch  —  Photography by Matt Porter and Aileen Aquino © Throttle Merchants Magazine

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“Can’t Stay” Jose  —  Photography by Matt Porter and Aileen Aquino © Throttle Merchants Magazine

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VINTAGE MENSWEAR | A COLLECTION FROM THE VINTAGE SHOWROOM’S BOOK

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I was pretty stoked when Doug Gunn sent me a copy of — Vintage Menswear — A Collection from the Vintage Showroom — as I’ve long been an admirer. Being in the menswear trade myself, London has always been a favorite stop for inspiration, and there’s no better place to be inspired than The Vintage Showroom. The collection is insane and beautifully presented, covering everything from academia, sporting, hunting, motoring, military wear, workwear, denim– it’s no surprise that they are one of the most complete and prestigious vintage dealers in the world. Of special interest to me are all things related to motoring as you see below including vintage leathers, Barbour, Belstaff, etc., and all the great snippets of the history, construction, and function behind the pieces.

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CHAMPION CAR CLUB JACKET, 1950s– “This is a simple, zip-up cotton jacket with fish-eye buttons at the cuffs and a short collar. What it signifies, however, is so much more. The hand-embroidered, chain-stitched imagery on its back places it squarely in the 1950s, at the height of the hot-rodding craze in the US. Hot-rodding was said to have been driven by young men returning from service abroad after World War II who had technical knowledge, time on their hands, and the habit of spending long days in male, if not macho, company. Rebuilding and boosting cars for feats of both spectacle and speed — often 1930s Ford Model Ts, As and Bs, stripped of extraneous parts, engines tuned or replaced, tires beefed up for better traction, and a show-stopping paint job as the final touch — became an issue of social status among hot-rodding’s participants. This status was expressed through clothing too. There were the ‘hot-rodders’ of the 1930s, when car modification for racing across dry lakes in California was more an innovative sport than a subculture, complete with the Southern California Timing Association of 1937 providing ‘official’ sanction. But by the 1950s, hot-rodding was a style too.  decade later it was, as many niche tastes are, commercialized and mainstream, with car design showing hot-rod traits.”  –Vintage Menswear, Douglas Gunn, Roy Luckett& Josh Sims

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AMERICAN GRAFFITI | THE EPIC FILM THAT REIGNITED HOT ROD CULTURE

I was chatting with my friend Don about epic car films, and Two-Lane Blacktop quickly came up. He’s a major car and quickly segued to American Graffiti– correctly stating that it was the same ’55 Chevy (built by Richard Ruth of Competition Engineering of Sunland, CA) for Blacktop that Falfa drove in George Lucas’ classic American Graffiti. Well there were actually two ’55 Chevy hot rods from Two-Lane Blacktop (1971) that were used in American Graffiti (1973). Both were built using Richard Ruth’s own ’55 Chevy as the blueprint. Producer Gary Kurtz (Two-Lane Blacktop & American Graffiti) had visited Ruth who took him for a pulse-quickening ride in his big-block hot rod. That same evening Kurtz promptly ordered three cars from Richard Ruth– two exactly like Ruth’s, and one stunt car.

Two original cars would survive to live another day in George Lucas’ American Graffiti: 

Main Car 1– Equipped with a 427 crate motor, M-22 Muncie, 4.88 Olds rear, fiberglass front end, doors, and trunk lid, straight axle front suspension when built and later modified and used in American Graffiti.

Stunt Car– All steel-bodied car equipped with a 454 crate motor, TH 400 automatic, Olds rear of unknown gearing, modified for American Graffiti. It was used for interior shots as it was equipped with an auto tranny and drove smoother than a stick.

Shot of Mel’s drive-in from the 1973 classic, “American Graffiti” — Image by © Sunset Boulevard/Corbis Mel’s drive-in was actually out of business, and was reopened just for the filming of American Graffiti– then promptly demolished after filming was finished. American Graffiti was George Lucas’ semi-autobiographical teenage tale (Lucas grew up in Modesto, CA during the heyday of cruising and hot rods) that starred a treasure trove of young talent– Harrison Ford, Richard Dreyfuss, Ron Howard, Cindy Williams, Mackenzie Phillips, and the list goes on. It also created a huge resurgence in American 1950’s & 1960’s culture–  inspiring a long string of films and TV shows, most notably “Happy Days.” Hot Rod magazine even listed the ’55 Chevy and ’32 Ford deuce coupe (the true stars of the film) at the top of their list of most influential hot rods of all time.        

Paul Le Mat in the George Lucas’ 1973 classic car film, “American Graffiti.” George Lucas had  the license plate on the ’32 Ford hot rod read: THX-138. This was a reference to THX-1138, his 1971 sc-fi flick. Later in his Star Wars saga, the yellow airspeeder Anakin Skywalker and Obi-Wan use to chase bounty hunter Zam Wesell is said to be a tribute to John Milner’s iconic coupe in American Graffiti.

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SHAWN DICKINSON ILLUSTRATIONS | SOCAL KUSTOM KULTURE KARTOONS

“Ghost Rider” by Shawn Dickinson

A product of SoCal, Shawn Dickinson grew up inspired by the surrounding counterculture of custom Hot Rods, Surfers, and the iconic art that was produced by the legends before him– you see the classic Rat Fink and Tiki influences that, in his hands, are at once timeless and fresh.  He got his chops as a cartoonist for the underground Untamed Highway, which was chock full of 1950’s Kustom Kulture. Dickinson went on to illustrate posters for Rockabilly and garage bands, not to mention numerous comic projects and commissioned works. 

I’m a big fan of the guy’s work.  As he describes it, Dickinson’s creations and medium are a throwback fusion of, “Imagery stylistically inspired by 1930’s cartoons (what I feel was the craziest era for cartoons), mixed with iconic imagery inspired by 1950’s & 1960’s rock n’ roll, cars, bikes, etc. (what I feel was the craziest era for all those things). And I still paint with watercolor and India ink.”  Love it.

Shawn Dickinson featured in Car Kulture DeLuxe Magazine

“Smooth” by Shawn Dickinson

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THE PHOTOGRAPHY OF RAY GORDON | — THROTTLED —

One of my big regrets of the year is that I wasn’t able to squirrel away the time & resources to make the trip out for –THROTTLED– Ray Gordon’s rad photography exhibition held last February at Wieden+Kennedy (Portland, OR).  Ray was cool enough to share some of the amazing pics, which just makes me feel even shittier for missing out on what was no doubt an epic event.

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— THROTTLED — Photograph by © Ray Gordon

— THROTTLED — Photograph by © Ray Gordon

— THROTTLED — Photograph by © Ray Gordon

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POWER OF CONTEXT AND EXCLUSION | THE PHOTOGRAPHY OF HOLLIS BENNETT

“The only things that I would say about the week were that no matter who you are, you need to experience it at least once.  There is something surreal about having all your senses that you normally rely on shattered from not being able to gauge distance on the salt flats or hearing a car that is not where it should be because it is going so fast or watching a little black streak pass you and not being able to fathom that a car could go that fast.  All in all an amazing place and an amazing time.”

–Hollis Bennett, on Bonneville Speed Week

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Bonneville Speed Week — Photograph by © Hollis Bennett

Bonneville Speed Week — Photograph by © Hollis Bennett

Bonneville Speed Week — Photograph by © Hollis Bennett

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HOLLYWOOD’S INNOVATIVE KUSTOM KULTURE LEGEND | DEAN JEFFRIES

Dean Jeffries Pontiac GTO Monkees Car - Monkeemobile

Pontiac GTO Monkeemobile built by Dean Jeffries. The car was featured on the NBC network’s comedy television show “The Monkees” starring Davey Jones, Mike Nesmith, Micky Dolenz, and Peter Tork. Created from two Pontiac GTOs, the visually radical Monkeemobile was an instant hit with fans of the show. This shot shows the dragster-inspired parachute deployed at Dean Jeffries Automotive Styling offices on Cahuenga Boulevard in Los Angeles. 

Legendary painter, customizer, racer, and stuntman Dean Jeffries is one of those guys whose soft-spoken nature has allowed other, more self-promoting figures (read: George Barris, the Don King of Kustom Kulture) to steal a lot of his thunder. Barris has tried to hire on Jeffries as an employee many times over the years, and Jeffries always rebuffed– preferring either to rent his own space, or work freelance. Their histories are forever entwined, and the tales of rivalry, and particularly Barris’ trickery, are the stuff of legend. Many of Dean Jeffries’ most recognized works (like the Monkeemobile, for one)– George Barris came behind and unrightfully claimed credit for them. It’s dumbfounding and downright sleazy– we’ll get to that later.

Dean Jeffries grew up immersed in Los Angeles auto culture– his dad was a mechanic, and next door to his dad’s garage was a bodyshop. The young Jeffries was drawn to the creative expression allowed in bodywork over turning a wrench (“too greasy!”) like his ol’ man– the bodyshop became his hangout of choice. After returning from the Korean War, he became buddies with another future legend of Kustom Kulture— Kenny Howard (AKA Von Dutch), and started pinstriping.

“We’d do freelance pinstriping on our own, then get together and hang out. I also worked during the day at a machine shop doing grinding. But pinstriping really took off then–I was painting little pictures and medallions on cars. My first job was pinstriping a boat. I didn’t have no shop back then. You were lucky if you got $5 for a whole car. If you got $25 in your pocket in a day you were King Kong. I thought it was great.” –Dean Jeffries

More than anything else, I’ll always remember Dean Jeffries for painting the infamous “Little Bastard” badge on the Porsche owned by his racing buddy– James Dean.

“For years Barris claimed he painted it– now he just says he can’t remember and somebody in his shop painted it. Sure. I used to bum around with James Dean. I wasn’t trying to be his movie friend. We just had car stuff between us. We hung out, got along together real bitchin’. But one day Dean asked me to paint those words on his car, and I just did it.” –Dean Jeffries

Love this pic. There’s the obvious knockout pinup, Carol Lewis (Dean Jeffries’ high school sweetheart in front of his ’47 Merc), posing for his pinstriping pleasure, but also check out Dean Jeffries’ paint box. “The Modern Painter Has Arrived.” It’s an incredible piece of work in itself.

“The above shot comes from a publicity shoot done ironically, at Barris’ shop, with George behind the camera. Jeffries was just out of high school, and Barris tried to hire him, but Jeffries wanted to sub-contract to Barris, so Barris cleaned out a storage area in his shop, and Jeffries based himself out of there. Pretty slick on Barris’ part– he could grab Jeffries any time he wanted a striping job.” –Thanks to Irish Rich for the story on Carol Lewis.

Carol Lewis’ custom 1956 Chevrolet– Dean Jeffries high school sweetheart.  –image via Kustomrama “It was Jeffries who was having dinner across the street from Barris’ shop when he spotted the smoke coming from the start of the disasterous Dec. ’57 Barris shop fire. He ran across the street and broke in, and managed to get Lewis’ 56 Chevy out of there before the flames got too out of control. Lewis’ Chevy was done in a similar style as Jeffries’ ’47 was.” –Irish Rich

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